架构师提供的文本描述。艾弗森博物馆的收藏主要集中在美国的艺术和陶瓷上，它不仅仅是一个艺术宝库。结构设计于1968年，由贝(I.M.Pei)设计，它试图通过创新的形式同时挑战传统的博物馆类型学，同时也作为现代艺术的客体存在。贝认为艾弗森是一个开放的建筑，从其所有暴露的侧面进入其内部。

Text description provided by the architects. With a collection focused largely on American art and ceramics, the Everson Museum exists as a structure that is more than just a vault for art. Designed in 1968 by I.M. Pei, the structure sought to simultaneously challenge the traditional museum typology through its innovative form while also existing as an object of modern art in its own right. Pei conceived the Everson as an open structure with access to its interior from all of its exposed sides.

 © Jesse Ganes

(杰西·甘尼斯)

这座建筑主要由四个不透明的混凝土卷组成，围绕着一个开放的中庭，游客可以通过这里进入画廊。图书馆/休息室和礼堂作为单独的卷存在，可通过中庭进入。

The building is primarily comprised of four opaque concrete volumes that surround an open atrium that visitors move through to access the galleries. A library/lounge and an auditorium exist as separate volumes that are accessed through the atrium. 

每一卷包含不同大小和高度的画廊，当从外部观看时，给组成博物馆的各种形式的整体组合增加了层次。一个悬臂式的第二层增加了建筑与周围景观的进一步区别。

Each volume contains galleries of differing size and height that when viewed from outside gives added hierarchy to the overall assemblage of forms that makeup the museum. A cantilevered second story adds further differentiation to the building from the surrounding landscape.

 © Jesse Ganes

(杰西·甘尼斯)

游客和自然光通过建筑物的主要体积之间的间隙进入建筑物。就像你可以与雕塑的各个方面互动一样，艾弗森在围绕着它的开放广场的基座上扮演着一种独特的形式。

Visitors and natural light enter the building through the gaps between the building’s main volumes. Just as one can interact with all sides of sculpture, the Everson acts as a singular form on the pedestal of the open plaza that surrounds it. 

这座建筑的雕塑野心也体现在混凝土的轮廓上。看起来，这座建筑似乎是以与居住在其中的一些文物类似的方式建造的。

The sculptural ambition of the building is also evident in the way in which the concrete is finished with a striated chiseled look. It appears as if the building was crafted in a similar way to that of some of the artifacts that inhabit it.

与贝模糊进入大楼的方式不同，进入二楼画廊的方式是公平的。一座宏伟的雕塑混凝土螺旋楼梯将参观者带到第二层展厅，俯瞰建筑的中央中庭。

In contrast to the way in which Pei blurred the entry sequence into the building, the way in which the second floor galleries is accessed is fairly prescribed. A grand sculptural concrete spiral stair takes the building’s visitors up to a second level of galleries that overlooks the building's central atrium.

 © Jesse Ganes

(杰西·甘尼斯)

混凝土桥梁连接独立的卷，编织游客从画廊到画廊，通过主开放中庭。这条长廊进一步物化了每一个画廊，增加了建筑的雕塑野心。

Concrete bridges connect the independent volumes weaving visitors from gallery to gallery through the main open atrium. This promenade serves to further objectify each gallery, adding to the sculptural ambitions of the building.

 © Jesse Ganes

(杰西·甘尼斯)

大楼周围的广场上有各种各样的户外雕塑。地面上刻着一大池水。这个户外区域在语言和规模上与西边的建筑有正式的联系。视频艺术，其中之一，其收藏的重点已经投射到艾弗森的正面动画其具体的体积。

The building’s surrounding plaza contains various outdoor sculptures. A large pool of water is carved into the ground. This outdoor zone formally relates in language and scale to the building to the west. Video art, one its collection’s focuses has been projected on the Everson’s facades animating its concrete volumes.

 © Jesse Ganes

(杰西·甘尼斯)